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Everything posted by Joe Riggs

ello, I'll be working with a project that was shot on 35mm film in anamorphic. I need to unsqueeze and possibly transcode the footage. I haven't worked with film in ages but from what I recall, I should expect to get a drive with a large file or a few large files on a harddrive, depending on the amount of rolls shot. Depending on what they codec they telecined, I may or may not have to convert to Pro Res. So I need to do the following: 1. Transcode to pro res 2. Unsqueeze the anamorphic image 3. Subclip the takes - Instead of subclipping, is there a way for it to automatically detect clip breaks, and every time the camera starts/stops, you get a new clip. Is this possible using log and transfer? 4. Export the takes for review. So what's the best workflow to handle this? Is it possible to transcode as well as unsqueeze in mpeg streamclip? Would Cinema Tools be the app to unsqueeze in? Log and transfer in Final Cut or should I just check anamorphic in Final Cut? Is there a way to batch exports subclips from the browser? Thank upi

yes, it's human. I figured it would be an issue. What if instead of crawling we have the monster just on the wall, like he is hanging from it or attached to it, how would this be done on the greenscreen? Could we use a flat surface and angle the camera?
Thanks

Hello, So there's a couple of scenes in this short, that are rather advanced for me. 1. We want this monster to climb a wall and end up on a vaulted ceiling like this . The shot is static so we shot a plate of the empty ceiling and took some measurements, but what do I do on the greenscreen set? How do I have actor move, and camera positioned/angled to make this come together in the composite. 2. There's a part where a person with a flashlight comes across the monster and the monster moves toward them. So the light from the flashlight illuminates the monster. We shot a few plates, as we were not sure which would be best, we shot one with flashlights on the background and one without. So we have a few options on the greenscreen and I'm not sure what will be best for the composite. Just to be clear we don't see the actual flashlights in the composite, just the light from them. 1. shoot the actor with flashlights, and composite him into the plate without flashlights. 2. shoot the actor without flashlights, and composite him into the plate with flashlights. 3. shoot the actor and flashlights separately. 4. cgi the flashlights? Any help is greatly appreciated.

Does anyone know why Fincher replaced original cinematographer Fredrik Bäckar(who used to post here)after eight weeks? I know Fincher can be really demanding but this was a huge break for Bäckar. I wonder if anyone can shed some more insight on this, instead of the usual "creative differences".
Did they reshoot his stuff? If not, a bunch of what is in the film is Backar's work, yet he is not credited.
Does anyone know how Backar (a relative unknown) landed such a high profile gig?

Jeff,
It is "Ready When You Are" by Jerry Ziesmer an A.D., and it covers his experiences on a number of films but mainly Apocalypse Now. Storaro is quiet a character, and the stories about him and his crew are the best parts of the book. For example, a member of his crew refuses to film a shot until Storaro personally gives him the F-stop - the only problem is Storaro is 30 miles away.
Another great story is after Coppola shows Storaro, the shots they need to get that day. Storaro and his crew dissapear into the jungle, Jerry, Francis, and the actors wait, and wait, and wait....
Finally, the light is just right, Storaro and crew spring forth from the jungle, Storaro announces "We have 30 minutes of light and we must do 12 shots!"
They proceed to accomplish this impossible feat.

Having recently re-watched the film, the shot David mentions is the only one that remotely resembles what is described in the book. However, according to the book the shot only contained two Hueys, and they joke about the shot as being from a "dolphin's POV", which leads me to believe it is a different shot that did not make the cut.

I am reading a book, where a crew member talks about working with Storaro on Apocalypse Now. He describes a shot that takes place during the Huey sequence, that required Storaro and his crew to build a dolly track secured to the ocean floor. They eventually pull off this amazing shot, but I do not recall the shot in the film. Where is it? Did it get cut? Anyone know?
Thanks

Hello,
I have a shoot coming up, where a significant portion will be hand held. I have been taking in the work of Prieto/Iñárritu, and they seem to have that style down. Most of the times it is not too erratic, and they come up with some wonderful compositions.
We did some tests in the location, a office room which is really small, and I found it difficult to come up with interesting compositions, and follow the actions without it looking too clumsy. Moreover, maintaining focus is really difficult.
Any tips to this style of hand-held work? I'm sure, much thought goes into it but at times, they seem to just follow the action, and pan all over the place.

I'll be shooting a short that takes place in a hospital/clinic. I'm finding it difficult to come up with ideas to make it look interesting.
Any ideas or movie recommendations to get inspiration from would be great.

Jason, I understand where your coming from, unfortunately, it was just an experiment with no real context, at best I was just trying to create an interesting look. However, reading ways others might approach it or augment the lighting is fascinating, and I see how certain suggestions would make a significant benefit.

Thanks Adrian, does "cleaning up" mean positioning the light to take away more of the shadow? As far as the candle, I thought it added interest to the frame, would you suggest moving it to the right of the frame so it appears to be motivated?

Hi,
A short film of mine, running 11 minutes has been accepted into a film festival, I am looking for a place to transfer the quicktime file to HDCam. One place, quoted me a price for the transfer and I was shocked by the cost (even if I supplied the stock). Please recommend a post house in L.A., San Diego, or any where in between that maybe a little more reasonable?
Thank you

Two questions
On a professional set, is moving a c-stand with a flag attached frowned upon? For example if you have two camera setups, the first one takes place 10 feet away from the 2nd, is it acceptable to move the stand with the flag attached to the next setup? or should you always remove the flag, fold the c-stand, and set it up again? or does it depend on length your walking with it and location (interior/exterior?
If there is no taco cart, what is the proper way to place c-stands you're not using, or when wrapping at the end of the day? On the ground? Against a wall?
thanks

I'm looking for paper tape and my only options are major stores like Walmart and Home Depot. I haven't any "paper tape" but painter's tape seems to be similar. Is it the same and will it work as an alternative to paper tape on set?

Thanks, on the student productions I have worked on, even though I was a grip, I found myself doing more electric work. I assume this is not usually the case, and grips don't normally touch lights? They are more about setting up/rigging C-stands, flags, silks to control the light I better learn some knots, as my rigging experience is limited despite my last name:)